Research On The Luantan Performance In The Imperial Court Of The Qing Dynast

The earliest record of the Qing dynasty’s inner court performance of the“Luantan opera”is found in the extant archives of the inner court opera of the Jia Qing Dynasty,which shows that the“Luantan opera”had already started to be performed at the inner court at the beginning of the Jia Qing Dynasty at the latest.Before the introduction of“Luantan opera”to the inner court,Kunshan tune and Yiyang tune were prevalent in the Qing court,and they were used as the mainstream.After the introduction of the“Luantan opera”to the inner court,Kunshan Tune and Yiyang Tune still dominated for a long time,and this situation did not change until after the ninth year of Guangxu.After the ninth year of Guangxu,with a large number of“Waixue”being selected to undertake the inner court,the inner court“Luantan opera”gradually entered a period of prosperity,and eventually replaced the position of Kunshan Tune and Yiyang Tune in the inner court,becoming the mainstream of the inner court drama.It was developed during the Jiaqing and Daoguang periods,developed during the Xianfeng and Tongzhi periods,and prospered during the Guangxu and Xuanzong periods,and was an important part of the Qing dynasty court opera performance.This paper is divided into an introduction,four chapters and concluding remarks.The introductory part includes the significance of the topic,research overview,research method and concept definition.The first chapter of the main text discusses the development of the“Luantan opera”in the inner court of the Qing dynasty,which is divided into three stages: the budding period of the“Luantan opera”in the inner court during the Jiaqing and Daoguang periods;the development period of the“Luantan opera”in the inner court during the Xianfeng and Tongzhi periods;and the prosperous period of the“Luantan opera” in the inner court during the Guangxu and Xuantong periods,so that the general situation of “Luantan opera”performance in the inner court can be grasped from the level of history.The second chapter compares the stages according to The second chapter explores the actors who performed at the Inner Court in accordance with the stages delineated in the first chapter.Since the situation of the actors who participated in the Inner Court repertoire is rather redundant,it is mainly explored from the perspective of the composition of the actors,emphasizing the important role of the“Waixue”in the Inner Court repertoire.Chapter three explores the repertoire of the Inner Court’s“Luantan”at various stages.Since there are many“Luantan”repertoires in the archives of the“Shengping Office”,and since they share the same name with Kunshan tune and Yiyang tune,the more explicit “ Luantan ”repertoire at various stages in the archives of the“Shengping Office ”is used as the object of study to get a glimpse of the repertoire of“Luantan”performances at various stages and the ideological and cultural connotations behind it.The fourth chapter mainly discusses the influence of the Qing dynasty’s inner court “ Luantan opera ”performance,which is mainly reflected in the influence of the inner court performance on the change of the concept of inner court opera,the two-way interaction between the inner court“Luantan opera”performance and the folk“Luantan opera”performance,and the importance of the inner court “ Luantan opera ” performance to the understanding of the phenomenon of the competitions of “Hua and Ya”.In general,the inner court“Luantan”repertoire an absolutely important role in the performance of opera in the inner court at the end of the Qing dynasty,and also plays an important role in the history of inner court repertoire and “Luantan”repertoire in the Qing dynasty as a whole.